Akira Kobayashi Popular Songs Ranking [2026]

In the distant Showa era…Kobayashi Akira15rank/position

[MV] Akira Kobayashi / Distant Showa...

When it comes to Akira Kobayashi, his expansive high notes are striking, aren’t they? Of course, that’s part of his appeal, but his charm isn’t limited to the high register.

In “Tōki Shōwa no…,” you can fully savor the depth of his low tones.

As it’s a later-career work, his high notes were starting to fade, but that makes the low range all the more pronounced.

Simply removing long sustained high notes lowers the difficulty considerably, and on top of that, this piece has relatively little contour in the vocal line, making it an easy song to sing from multiple angles.

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A heart that says “my dear, my dear.”Kobayashi Akira / Asaoka Ruriko16rank/position

Beloved, Beloved Heart / Akira Kobayashi & Ruriko Asaoka (Song) Hiroshi Take

The duet song “Itoshi Itoshi to Iu Kokoro” by Akira Kobayashi and Ruriko Asaoka portrays the heart of a woman who has parted from the one she loves.

While most duets feature back-and-forth exchanges between a man and a woman or depict each person’s inner feelings, this track focuses solely on the woman.

It might seem challenging for a man to sing about a woman’s feelings, but Kobayashi’s part is basically the chorus, so in practice it isn’t difficult.

Be sure to give it a listen.

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I’m sorryKobayashi Akira17rank/position

I'm sorry

The piece “Gomen ne” stands out for its melancholy melody and lyrics.

While it’s classified as kayōkyoku (Japanese pop enka), the A melody shows strong enka elements.

That said, it doesn’t feature the complex pitch bends (kobushi) typical of enka, making it relatively easy to sing.

However, the range is somewhat wide, and a sustained high note appears near the end of the chorus, so take care there.

The low notes are fairly low as well, which might make it tricky to find a comfortable key.

If you find parts un-singable, try focusing on resonating the sound in the back of your head.

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wandererKobayashi Akira18rank/position

wanderer

Asahi Kobayashi’s early song “Sasurai.” Over his long career, Kobayashi’s vocal phrasing and musical style evolved, but even in this early work, you can hear the high, sustained notes that became his trademark.

That said, compared to his mid-career long tones, they are still relatively short, and there aren’t sections that emphasize sheer vocal power.

There’s also very little kobushi (ornamental melisma), so as long as you can handle the range, anyone should be able to sing it without trouble.

Consider adding it to your repertoire.

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Will you come with me?Kobayashi Akira19rank/position

Will you come with me?

Kobayashi Akira’s classic “Tsuite Kurukai,” marked by its poignantly sorrowful melody, is impressive.

As is typical of Kobayashi’s songs, the vocal range is on the wider side, but in this piece the only true high-tone section is the long note right before the chorus, so it shouldn’t pose a major obstacle.

However, there is one instance of kobushi in the middle of the chorus, which calls for attention.

The kobushi here is closer to a Western-style vocal riff than to an enka-style kobushi, so some familiarity with that approach will be necessary.

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Akira’s gene really gets me going.Kobayashi Akira20rank/position

Asahi Kobayashi — It really hits me right in the feels.

As the commercial song for Suntory’s classic whisky “Suntory White,” the track that became a huge hit at the time—praised for bringing out a completely new facet of Akira Kobayashi’s appeal—was “Akira no Jean to Kichauze,” produced by Tokyo Ska Paradise Orchestra.

While Kobayashi has songs like “Jidosha Show Uta” and “Dynamite ga 150 Ton,” this one takes that same vibe and infuses it with a richer groove.

It’s become an indispensable track when talking about Akira.

Akira’s Soran BushiKobayashi Akira21rank/position

Akira's Soran Bushi

Interweaving the powerful calls of “Yaren” and “Soran,” it sings of the lives and loves of men who make their living on the fishing grounds.

Released as a single in October 1960, this performance served as the theme song for the film “The Prairie Migratory Bird.” Thanks to Masaru Endo’s supplementary composition, the melody gains dramatic contours, while the arrangement—featuring brass and strings—adds a pop sheen to the folk-style phrasing.

Akira Kobayashi’s signature taut high notes and clipped line endings make this a superb performance that highlights the gallantry of men of the sea.